Danny Boyle’s, ‘Yesterday'

Yesterday

Rating: PG-13

A cheery 4 out of 5.

When I first saw the trailer to this unique film, I gave out a literal “YES!”. The notion of a story inspired by the beautiful and beloved work of The Beatles dazzled me. And, as much as I was aching to see the way in which creative director, Danny Boyle (Slumdog Millionaire, Trainspotting, 28 Days Later), would approach this winning premise, I was overjoyed in anticipation to witness an awesome extension of the bands’ legendary and colorful musical legacy. I’m exhilarated to discuss this movie, so, with this mini preface, here is the melodious britcom similarly titled, Yesterday (of course).

We follow Jack Malek (played by new star Himesh Patel), a struggling musician who constantly tries, and fails at launching a dream career in music. And though not successful in the original sense, he certainly is wealthy when it comes to having supportive friends, who show up for every slot, and lend generous applause, as well as a few teases with each visit. But at the forefront of the fun group stands lifelong bestie, Ellie (the loving Lily James), who plays the role of [Jack’s] manager, personal driver, and confidant, as they patiently and actively wait for that big break they think will change everything.

Jack (Himesh Patel) dubbing his new guitar with the classic song, Yesterday. A small performance for his best friend Ellie (Lily James).

Driving back home after another failed gig, and one which he claims is his last attempt in the long journey of trying to grab hold of the elusive vocation, a worldwide blackout occurs out of nowhere; subways, cities, street lights, even The Eiffel Tower (of all things). Everything goes out! And in that momentary darkness, Jack is hit by a speeding bus which knocks him, and his two front teeth, right out.

In the hospital, he wakes up with a space in his mouth where twin pearly whites once hung, but, other that, nothing else of notable or new mention seems to present. With another thing to add to his list of misfortunes, he’s ready to go back to normal life (working at a Costco-like store), when he begins to notice something off with the whole situation. After performing the famed song (you guessed it. Yesterday) to his peculiarly awestruck friends, an inquisitive Jack, with a couple of Google searches, quickly discovers that with the recent power outage, what also went with the light were the historical conceptions of things like Coca-Cola, cigarettes, and The Beatles (and therefore, the memories instilled in each person worldwide—gone, except for his strangely singular recollection)! Shocked with this unimaginable finding, and at the lowest point in his music career, he slowly comes to the conclusion that these two things could very well come together to serve a great purpose.

Jack decides to take the (once) legendary the songs of John, Paul, George, and Ringo, and pass them off as his own radical creations, on a path he hopes will lead his name to fame for the talent no one cared to look at before. And with this once (rather, never) in a lifetime opportunity, he must navigate the unforeseen difficulties of life in mega stardom, money hungry agents, and finding the balance between "work" and family (both of which are things of great importance, and very preciously depend on a frugal use of time). The dilemma for our character is that he is faced with having to choose one or the other; between an eternal musical fantasy (the unsure combination of self desire and cultural obligation to rescue and release “Help!” from the ashes of extinction), or holding his dear friends fast (because often, in the quest to find true love, we often look past what, or whom, is right in front us).

Ellie and Jack recording only the first of of many Beatles songs to come.

This was one of those storylines that had me engaged right away — even when watching the teaser months before — while also giving me a healthy case of envy (I usually experience this with the best of film and enthralling concepts). That “envy” quickly morphs into inspiration, a quest of sorts for what other stories have yet to be uncovered, or created, and gives you an overall excitement (rather a reminder) to the fact that good work is always being made — well done to screenwriter, Richard Curtis (Love Actually,Bridget Jones’ Diary, War Horse) for definitely bringing something new to the table. Now what this film touches on in relation to these thoughts is that same daydream we’ve all entertained at least once, which is: What would the world be without this thing?, or Huh, what if I had come up with that instead?

So, as I mentioned before, Jack gets hit by a vehicle in the midst of a worldwide blackout, which then mysteriously leads to the the complete disappearance of a number of things (objects, stories, bands, etc.) from history and daily life. It was very interesting that variety of other things vanished as well, instead of just the eventful eradication of the mop-topped band, as impressed in the trailer. It added a nice aspect of humor to the whole piece. Anyway, I feel like I’m beginning to explain the plot all over again, and maybe I will a bit. Point is, I can only assume the character of Jack, a passionate musician who pours out his soul in the hopes of just being noticed by the passing crowd, and feeling his songs are appreciated less and less with each gig received, likely tread into the thoughts, embodying the like of: “if only I'd made that tune first, I’d be famous right now, and this or that and…blah, blah blah”. It's very relatable, and, in a sense, I considered Jack Malik to be representation of the many likewise drowning, or already downed, unsung musical talents now, and throughout our history.

Jack and Ed Sheeran, as himself, discuss music things.

I’m not a musician, but it is a universal kind of idea to hope for that big opportunity, in any profession or medium. Unfortunately, it’s the harsh truth of many businesses that, while many may be called, painful few are chosen (for the most part, it really is the people you know that can give a progressive hand). Just imagine —"all the people”— how many obscure creative voices have slipped throughout time unnoticed, or (in a strange, more redemptive sort of way) only receive praise for their labors after death (not very plausible though). Pretty stunning to think about.

Getting back on track now, the film itself was pretty wonderful. It was a very light and bright type of comedy (which I ultimately love, as they often succeed in bringing my spirits up). Though the romantic side of Jack’s journey closely followed the familiar template of romantic comedies (being one anyway), it was filled with many a good joke, and opened me up to both the ups and downs of songwriting and the wary status of the music business (makes me want to write a song now).

Himesh Patel (Jack) seems to have just rushed onto the scene from nowhere (except from a British soap, I’d never heard of, EastEnders’, as character Tamwar Maswood). He had two very nice performances in the film; one with his casual acting, and the other through his voice of cool and ardor, both of which I felt were very natural, and embodied a classic, though modern expression of The Beatles' music. I’m watchful to see where Patel may go next after this big debut. I love when directors star new talent. Great job on Danny Boyle’s part.

Our first introduction to eccentric label manger, Deborah (Kate McKinnon).

A few other actors that starred in this fun film (besides portraying a mostly “unknown” cast, who were all pretty good) were Lily James (delightful disposition, and a very helpful, underused presence in Jack’s life), Ed Sheeran (talented singer, who had an, awkward, but essential role in the story), and the fabulous Kate McKinnon. The intense comedian/actress (a star player on the comedy sketch show, SNL) is so inexplicably hilarious in everything she’s in, and can play this humor into a wide array of roles, from quirky, to charismatic, darling, to downright scary! Very fun character.

Now, when I have critiques on story (or whatever it may be), I often don’t contribute any alternative situations (mainly because I don’t put too much thought into that part. I'll work on that); similar circumstance here. With the main theme revolving largely around the British boy band (that’s gotta be the third use of a nickname for these guys), I felt some nostalgia and reverence in this homage of sorts, but not as much as I would’ve hoped. It felt like it could’ve been a little more “potent”.

Director Danny Boyle giving some tips to Himesh Patel for his character of Jack Mailk.

But granted, with a few interviews I read from Boyle (here’s one), it seems that that sort of sentimental absence was a goal all along. Paul McCartney and Ringo Starr (the two surviving members of the band) were consulted, and asked for their consent on a number of things for the quality and fluid use of their music (which,16 selections,cost a total of 10 million out of a 26 million dollar budget!) but other than that, they were left out of the project to really ground the idea that 'The Beatles do not exist anymore’. So with that view, things make a little more sense, as the main focus is projected onto Malik’s journey, rather than having a to uphold major, distracting history (they fade away in our minds as the film carries on, and I, for one, think that to be fascinating and clever). And the fact that they (The Beatles) gave the green flag on a project where their huge cultural presence has been eradicated from existence follows their signature whimsy and shows one their great sense of humor.

And referring to one final scene of importance, I don’t believe "fake nostalgia” is the correct term, as others may put it. At one point there is a pretty significant, self expository turn of events for our main character, inciting a mainstream of awed gasps from the audience. It toys further with, and pushes the bounds of what this story idea can hold, and on paper, it is brilliant and full of prospect. But (apologies for the vagueness, but no spoilers) what they tried to accomplish with this spark didn’t fully convince me. It was not a scene of great emotion, and, unfortunately didn’t latch on as I so wanted. Nonetheless, a great and memorable stop to segue into the descending arpeggio of this film that doesn’t fail delight.

An unassured Jack has a heart to heart convo with his manager and friend, Ellie

So in conclusion, Yesterday was a wonderful film, featuring playful and immersive cinematography (especially during the concert segments, which were all filmed completely live), and using a fine portion of warm comedy to ease us into this sweet experience. This subtle love letter to The Beatles’ whimsical voice, who all brought about an immense global and cultural impact, that continues to this today, left me with a renewed, appreciative valuation for the iconic tunes meshed into the minds of so many. You probably could’ve guessed that I am a enthusiastic fan myself (I hope and fear that this has been excessive) but I also understand that their music just isn’t for everyone. You may not be too keen on the spirited melodies of the four, but I do suggest taking a swift chance on (partaking in) this fantastical adventure, that grows and grows into an ever gratifying tale (no spoilers), and prompts us all to get back in touch with our creativity, and come together through these versatile arts as we learn to “speak our truth” one bit at a time.

‘UPDATE’, with SPOILERS!:

New developments. Upon my going to see Yesterday with my grandparents, I observed some new meanings and insights I’d like to add briefly and more directly, and maybe not as eloquent (forgive any abruptness) — going over a film again never ceases to be the best test for a film’s overall potency and accomplishment.

So, at the end of the film, Jack gathers all of the pain, guilt, and fear, he’s collected over the last month of sudden fame, into the big decision to confess that all of the “his” beloved songs actually belong to four gifted men (JPGR). We see throughout the film that whatever he tries, even visiting Penny Lane, Jack cannot genuinely incite any of the emotions that were felt while writing the pieces. And through this facade of ownership and fabricated of creative origins that would not age well, or more stable, with time, our singing character releases all of the bands’ wonderful songs online for the world to enjoy, with the only price/condition being to share in that euphoria.

This segues into what happens next; Jack declares an apology as well as his love for his constant friend, Ellie. Rather leaving the spotlight, Jack and Ellie go on to “celebrate”, and build a home sweet home with a couple kids, laughter, and joyful music that perfectly mirror the Lennon-McCartney tune, “Ob-La-Di, Ob-La-Da”. This is so satisfying as Jack ultimately got the best of both worlds, in that he found the love he never knew he needed, or wanted maybe is more like it, and was able to finally experience the happiness only attained from an enthusiastic and generous crowd; in his case, a room full of children. Slightly humorous, but also uplifting and rewarding.

And the last thing I’ll bring up is a stellar scene that I vaguely gave mention to earlier.

(I never give spoilers, but I think this is well worth it) A confused and troubled Jack travels to a remote beach house by the sea (from a lead given by two others who still “remember”) where legendary figure and Beatle, John Lennon, is found to be humbly residing in total peace. His strong, calming sense of wisdom and brilliance lead him to an alternative lifestyle in the present day that was not at all lost with a “what could’ve been”, but instead portrayed his sage-like mind and a further understanding of the surrounding world.

The other real treat was glancing over to my grandparents as they watched this scene; true fans of the Beatles-age. I fervently, but quietly awaited their reactions to this scene, as it could’ve very well been received on either side of the wobbly spectrum.

So there I am waiting, then with that moment of arriving on screen. (And putting aside my opinion) I heard/saw stupefied gasps, quick comments of essence, as well as some faint tears beginning to stir. I thought about this for a bit, and really put my self in their shoes; [my grandparents] were avid listeners of their music, and experienced both the joys and pains in their history (with the Lennon’s assassination being the saddest of topics to discuss). To often hear them speak of [Lennon and/or the rest of the group] with such admiration was one thing, but to witness the genuine expressions of emotions experienced long ago, sort of like the reopening and reintroduction of an old wound, was just astonishing, warming, and awesome.

I am a huge Beatles fan myself (possessing every album and song, and holding much curiosity for their backstories), but what is missing from my love is that genuine interface given only by presence and memory. For me, it’s an age that I constantly yearn and fantasize after. But for many growing up in the 60s and 70s, Beatlemania was all history in the making, and [must’ve] just been surreal and “groovy” (don’t think I’ll ever be worthy of that word’s usage).

The point of this heartfelt addition to this article is to say I’m forever glad I was able to watch this a second time ‘round with my loving and knowledgeable grandparents (the best film buddies one could have), and carry some fascinating discussion with them following, about countless the memories and stories that are connected and conveyed through the music of those Fab Four. Thanks to everyone, if you even read this far down, and don’t pass up an opportunity to watch this one of a kind film. Cheers!